Chandran nair poetic devices

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If we are inclined to such ungenerous thought, Chandran Nair's new volume, After the Hard Hours this Rain sets our minds at ease.

In the same year, he worked with Malcolm Koh Ho Ping to translate Poems and Lyrics of the last Lord Lee (Woodrose Publications, 1975), a volume of poetry written the last Emperor of the Southern Tang dynasty. His father, Villayil Raman Gopala Pillai, wrote short stories and novels in Malayalam under the pen name Njekkad, and emigrated to Singapore in 1947.^[1]

In 1973, Chandran Nair married Ivy Goh Pek Kien.^[2] Nair studied at Raffles Institution and the University of Singapore, where he earned a Master's degree in Science (marine biology) and a Diploma in fisheries (with distinction).

In response to positive reviews of the first collection, and after his win at the New Nation Singapore Short Story Writing Contest in 1973, he published his second poetry collection After the hard hours, this rain (Woodrose Publications, 1975). His work at ERM demonstrated his ability to balance environmental concerns with corporate growth, setting the stage for his future endeavors.

Shaping the Future: Education and Mentorship

Beyond his professional achievements, Chandran Nair has dedicated himself to shaping future leaders.

. Singapore: Ethos Books, 2010. . GIFT focuses on addressing critical global issues such as economic inequality, sustainability, and the shifting balance of economic power from the West to Asia. For the raid into the articulate to achieve what Shelley called "new materials of knowledge" amounts to an essential self-understanding to harmonise the ways to thought and feeling.

By Chandran Nair. His two collections of poetry, Once the Horsemen and other Poems (1972) and After the Hard Hours this Rain (1975), reveal fairly explicit references to Indian myths, legends, landscape and spirituality. I do not propose to read out his poems today, but in view of the forthcoming visit of our Foreign Minister to Peking, perhaps Mr.

Speaker and hon. . During his time there, he worked tirelessly to build sanitation and water systems while channeling his creativity as a saxophonist in a local band. It was, Thumboo explains, after meeting his extended relatives that he wrote “grandfather,” which in imagery and in tone attempts to register an attitude towards a spirituality rescued from superstition:

gods bothered him,
but temples missed his sacrifice.
he found truth, relief, away from divinity,
spacing out years in padi fields,
unfolding particular nuances, lack of attainment

Similarly, in “hindu cremation,” a poem from the same collection, the speaker detaches himself from ritual and tradition if only to re-inscribe the transcendent universality of life and death into a moment of grieving.

He dives to the existential core of an experience and describes it without ornamentation and verbal fat. . For the raid into the articulate to achieve what Shelley called "new materials of knowledge" amounts to an essential self-understanding to harmonise the ways to thought and feeling. The Straits Times . .